Portfolio II - SCI-Arc by Jeff Halstead

THESIS INTRO

Design is either intuitive or prescriptive. Intuitive design is a subjective take based on one’s sets of feelings. These feelings take from one’s repertoire of visual and conceptual experiences; sub-consciousness. However, this approach is limited in that the resultant design work is based off of just one person’s familiarity. Prescriptive, or method based design is restrictive because it is based on data, categories, and logic. They work within the confinements of a set of described rules. Design can’t be strictly intuitive or methodical. This thesis is about synchronization of the method of coding and method of sensation/sensibility/intuition.

JEFFREY HALSTEAD PORTFOLIO 2013

CONTENTS INTRO TO DIGITAL DESIGN KEEP IT ALL INSIDE THE NEW PAINTERLY ANOGENIC DEFORMATIONS EXACT FORMS TABLEAU VIVANT CODING FORM BIOLOGICALLY INFORMED SLICK FICTION SCOPIC ARCHITECTURE ADVANCED TECTONICS ADVANCED SYSTEMS DESIGN DEVELOPMENT RUDE FORM

INTRO DIGITAL DESIGN T

his workshop was useful in not only providing the technical base for advanced visuals but also in immediate advancement in critical composition and design thinking. This assignmentâ&#x20AC;&#x2122;s primary focus was on producing drawings that communicated form quickly and effectively, and renderings that communicated a sensibility rather than clarity.

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KEEP IT ALL INSIDE

arving in architecture is typically subjected to material that is quite homogeneous in relation to the scale in which it is buildable (carving out a marble column).

Cutting out portions of material from a preexisting heterogeneous mass offers a very disparate method to producing constructible material. In this case, the scale of material already has form. Because of this and unlike that of a marble column, cutting up the material is not the only way a designed figure derives its form. Two different sophistically detailed primitives serve as the base objects in which cuts are made and chucks removed from. One primitive is hard and porous in nature; the other is soft and fatty. Certain constraints like weight, porosity and enclosure all influence the location and direction of each cut on the primitive. The topology of each cut is in relation what part of the initial object is being cut and where the removed piece will be situated against the others. There could be larger cuts through some of the more porous areas and smaller cuts along the thicker more massive areas. This allows for a certain level of control over the outcome, but is ultimately subjected to the character of the initial mass in which it was cut from. After a series of these chucks have been carved out, they are assembled together. The result is a miscreation, neither a complete deliberately designed thing nor the unauthored original object it stemmed from. Shaping form in this manner changes the relationship of material to the thing it embodies. Now, instead of the architectural model serving as a reference to build from, it is a stage in which model and material are of the same process. Different chunks are continually being dismembered, combined, left in place or removed again - constituting a process of production based in deformity.

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THE NEW PAINTERLY T

his project is based on the threshold of legibility of the figure specifically when it gives up being a being and becomes architecture. It does this by maintaining characteristics in what can be described as flesh-like and bodily but distinctively architectural. The formal approach was captured in two ways. The exterior is through pressing skin onto a flat surface, and the interior is made of the resulting leftover wrinkled and squished skin like form. The soft and supple qualities of skin were further exploited with the superimposed lighting effects. The lighting technique withdrew and imbued emphasis on the abrupt change of pressed and squished flesh.

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ANOGENIC DEFORMATIONS T

he conceptual point of departure for this project was to discover a new type of field, maybe based on an old type of field... This proposal challenges the difference between fields and architectural building. It tries to find integration for the two meanwhile accepting the differences and using the vastness of the site to embrace them. The field itself is comprised of sudden densities and epicenters and attempts to express these conditions as a representations rather than objects on field. The challenge of this particular exploration was to use one condition and many of its variables in order to treat object, field, building, and orthogonal vectorial aspects.

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EXACT FORMS

eginning with a serious venture into z-brush, the class developed into lessons on dynamic representation. In our studio groups, our relief models enabled us to take advantage of touch designers capabilities in projection on physical pieces of geometry. By mapping out sequences inherit to our studio projectâ&#x20AC;&#x2122;s use of particular effects used in painting, we were able to begin to explore how ideas of projection, attention to light and contrast could be used to maintain an emphasis on specific areas in the theater. These were then updated and changed based off of a series of variables designed to stay in constant connection with the theater goers.

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TABLEAU VIVANT T

he primary focus of this assignment was to be achieved through contemporary use of digital scanning and 2.5D software manipulations to produce a fictional landscape. The landscape is populated by the repetition of two similar organic objects. Firstly, this exercise not only tests the multiplicity of a 2D representation of an object, but also how that makes up an enticing overall composition. Secondly, it also tests the application of a digital tool, the shiny silver brush, in juxtaposition and imposition of the organic characteristics of the original objects.

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BIOLOGICALLY INFORMED T

his excerpt of the CS seminar essay is a direct reflection of a desire for research. As a student of architecture, the relentless and continuous need for innovation is crucial in both practice and thinking. The topic of this essay was influenced by some of Marcelyn Gowâ&#x20AC;&#x2122;s practice and also the design studio discussions on field conditions and static and dynamic behaviors.

The desire to blur the separation between the built and unbuilt environment has recently been of interest in certain design offices and architectural critics. Their discussions are not based on a set of codes and instructions being able to generate a more “environmentally responsible” method to design; they are based around a current experimental paradigm that has been interested in inserting biological concepts into the practice of architecture in order to accomplish what Helene Furjan notes as Architecture As Ecosystem. She supports Reyner Banham’s argument in “The Architecture of the Well-Tempered Environment” to begin a discussion that moves the idea of architecture from building system to architecture as a conditioner of effects. In order to realize this she describes a “built organization that operates at the level of vivisystems – dynamic and complex systems that learn, adapt, evolve and mutate in response to the feedback of environmental conditions.” Herein begins the discussion on biology being productive in realms of computation, engineering, and atmosphere. Amongst many biologically informed architectural projects, two are of significant relevance in being able to test these principles with the intention of distinguishing what is progressive in the field. The two projects are Jenny Sabin’s Branching Morphogenesis and Rachel Armstrong’s theoretical project situated in Venice. Jenny Sabin’s installation attempts to capture the branching process of lung endothelial cells. Her research is primarily concerned with mapping the parameters of branching morphology in reaction to its 3D Extracellular Matrix which serves as a 3D environment in which a cell uses to govern its growth and behavioral logic. After the branching parameters are computationally replicated in Processing, a growth sequence is played out and captured at five consecutive intervals. These are then used to create “slices of time” drawings that are layered in section and used as the fabrication set for the installation. Although visually stunning, this project lacks in its method of translation from research to implementation. Since the installation relies on capturing time and fluctuation though the 2D chronological set of diagrams, this layered fabrication schedule results in a “static” abstraction of the research. In an “active” installation, altering states of the relationship would happen in real time and allow for manipulations of the properties of both parties, cells and environment.

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Racheal Armstrong introduced protocells while working with Philip Beesley and centered her work on developing methods in which to generate biological characteristics. Her work in the biological paradigm is appealing because Jeffrey Halstead 06.13 its starting point is materiality in the way that instead of

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SLICK FICTION

lick Fiction is a 2013 American Architectural critique adapted to Quentin Tarantino’s screenplay “Pulp Fiction”. The screenplay takes advantage of the nonlinear storyline of the original film to highlight the issues found in the very linear argument presented by Patrik Shcumacher in his book Autopoesis of Architecture and the very non-linear arguments presented by Nikolas Monchauex in his book “Spacesuit”. The new screenplay adapts instructors from our school to characters from Tarrantoinos film. The instructors/characters are categorized in either Patrik’s unified systems theory or Monchauexs cross disciplinary theory. The conflicting views of the faculty results in an opinionated standoff at the school during an invitational lecture by Patrik Schumacher. Typically void of both in architecture, the screenplay uses a mix of humor and violence to EXAGGERATE the amount of influence architectural theorists attempt to generate. An extreme exaggerate on how Architectural theories influence the direction of the field, the arguments presented develop into a satirical fashion.

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SCOPIC ARCHITECTURE

n a film, it is through the actors and script where a story unfolds and where our attention is directed. Throughout the movie however, our feelings are being controlled by the tempo and pace of the movie’s s soundtrack. The soundtrack does its work in the background to ensure the mood of a scene or an actor’s feelings can effectively resonate with it’s audience Arguably in the “The Hotel”, Jean Nouvel creates a “soundtrack” - an architecture that presides to the background of a person’s visual experience in order to accentuate how they view, speak and act with one another. The façade of “The Hotel”, originally dating back to 1907, is maintained as a cinematic border. Like pulled curtains on a stage, our attention is drawn not to the facade itself, but instead to its openings. Nouvel does this by flipping the primary role of the window from that of a frame of which to view out of, to a series of “displays” in which to view onto. The windows in each of the rooms, viewed from the outside at night, display a series of illuminated film stills. Brightly lit, the colors from the stills radiate a glow similar to the one of a movie screen. The stills are positioned on the ceiling of each room, indicating their intended vantage point - from the position of someone standing out on the street. The guests, when in view from outside, become a part of the cast in each film still, having it serve as a backdrop to their behavior. The performative adaptation of the window, used in lieu of its archetypical ability to be that of something operative, is the kind of role reassignment Nouvel also applies to the walls and floors in the lower more public spaces of the lounge, lobby and restaurant. Using a series of strategically placed mirrors, he turns the floors and walls into performative devices that obfuscate the spatial and programmatic boundaries of theses areas. In turn this allows them to take on both roles of stage and seating. The guests and the outside public become active participants in a display of “double vantage” in which they are being simultaneously cast as both performer and spectator.

A “praxinoscope” an early optical device used to animate a sequence of images, was used to discuss the idea of double vantage in Rosalind Krauss’s article – “The Im/pulse to See”. A praxinoscope uses a strip of images placed around the inner surface of a cylinder that spins around an inner circle of stationary mirrors. The reflections of the spinning images on the inner mirrors appear in a stationary appearance as the wheel is turned. The praxinoscope allows a viewer to occupy two places simultaneously. The first place is the imaginary identification with the animated illusion and the second place is the connection to the optical device itself and the insistent reminder of its presence. Nouvel separates the lounge, lobby and restaurant in the same manner a praxinoscope separates viewer from subject – enforcing the awareness of the stage/actor (double vantage). This is a how Nouvel decides in how to locates the restaurant and bar – being at split-levels both above and below grade the spaces are visually disconnected from one anther and are brought back together through the use of the mirrored optical device. It is the vantage points between these two pieces of program and the street that define how Nouvel programmatically arranges things next to each other. From this separation, people are given fragmentary reflected views into different parts of the hotel. Here, Nouvel uses two-dimensionality to blurthe seams between the space themselves, and inside and outside by flattening it. The lounge looks as though it floats above restaurant. This underlines the distancing mechanism and loss of spatial awareness that Nouvel retains in order to accomplish the idea of an architecture becoming a part of the background to the actions of the people who surround it. Similarly to Nouvel, minimalist conceptual artist Dan Graham employs quite similar techniques to displace space, howver, doing so on one plane and making the perception of the viewer what is being displaced, opposed to Nouvel’s physical displacement through vertically distancing floors. In order to read further into the intentions of Nouvel and appreciate what he is doing with “The Hotel”, a look into Graham’s basis for his use of mirrors in his art will be used, as a way to better understand how viewers become the objects of other people’s attention while seeing heir own reflections

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Dan Graham’s desire for displacement was associated with self- consciousness as influenced by Sartre’s “Being and Nothingness”. He based his artwork on the concept of the viewer having a sense of his self through an ego created by his idea of himself being observed by another person, all the meanwhile its one person after all. For instance, in the Public Spaces/2 Audiences, with the usage of two-way mirror, person A observes himself through his reflection in the mirror and also through the observation of Audience B in room 2, who is observing person A through the glass in room 1.

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In Dan Graham’s work there’s generally 3 categories of being, the protagonist, the reflection, and the perception, therefore generating a sense of displacement and self-consciousness simultaneously. This uncovers the model of vision Nouvel was intent on exploring - the ego’s role in a person’s fantasy. The self engrossed fascination to experience oneself as the “actor” as spectator to the scene of the play as a stage in which he himself is acting, so that he is simultaneously the focus within the play and viewer outside of it is the renewed form of visuality Nouvel looks to produce. It is the the fascination of ones self found in the sensation of being both inside and outside that Nouvel applies through his use of mirrored surfaces in “The Hotel” To demonstrate the visual mechanism Nouvel employs in his project, a movie and drawing accompany this writing. The movie will be based in a .gif format. A “GIF” (graphic interchange format) uses a strip of images overlaid in succession, producing a repeated or pulsing animation. By projecting this series of “GIFs” capturing the mirrored moments of “double vantage” in “The Hotel”, us as new viewers become a part of Kruaus’s illustration of the beat or pulse surging through the praxinoscope’s field – “the flicker of its successive images acting as the structural equivalent of the interior illusion, the beat both constructing the gestalt and undoing it at the same time – both positioning us within the scene as its active viewer and outside it as its passive witness.” Thus, the animated “GIFs” serve to parallel a first person understanding of the inside/outside experience of Nouvel’s project and a first person understanding of the beat or pulse Krauss describes in her article. The building type of a hotel further enriches this discussion of “double vantage” beyond what is immediately visible. Hotels are transient places away from home and can often connote an idea of escape – a stage for fantasy in which people project their own lapses of desire. Here, Novel pronounces this by lining the ceiling of each room with erotic clips from some of his favorite films, suggesting the guests too become protagonists in their own scenes of fiction.

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CODING FORM - 2

arving in architecture is typically subjected to material that is quite homogeneous in relation to the scale in which it is buildable (carving out a marble column). Cutting out portions of material from a preexisting heterogeneous mass offers a very disparate method to producing constructible material. In this case, the scale of material already has form. Because of this and unlike that of a marble column, cutting up the material is not the only way a designed figure derives its form. Two different sophistically detailed primitives serve as the base objects in which cuts are made and chucks removed from. One primitive is hard and porous in nature; the other is soft and fatty. Certain constraints like weight, porosity and enclosure all influence the location and direction of each cut on the primitive. The topology of each cut is in relation what part of the initial object is being cut and where the removed piece will be situated against the others. There could be larger cuts through some of the more porous areas and smaller cuts along the thicker more massive areas. This allows for a certain level of control over the outcome, but is ultimately subjected to the character of the initial mass in which it was cut from. After a series of these chucks have been carved out, they are assembled together. The result is a miscreation, neither a complete deliberately designed thing nor the unauthored original object it stemmed from. Shaping form in this manner changes the relationship of material to the thing it embodies. Now, instead of the architectural model serving as a reference to build from, it is a stage in which model and material are of the same process. Different chunks are continually being dismembered, combined, left in place or removed again - constituting a process of production based in deformity.

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CODING FORM - 1

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ADVANCED TECTONICS T

he overall aim of this seminar was to fabricate a tectonic element that took advantage of the light, airy, flexible composite materials. We designed and executed a wall partition, which embodied all the characteristics available from the usage of toe and fiber tape; such as lightweight, translucent transparent and opaque, flexible, and malleable. However, this project takes advantage of composites in the way that the wall is assembled. The wall was designed to be cantilevered off another structure, and as a result is has two primary elements, the surfaces that act as partitions, and the surfaces that act as structure.

REAR TOW PANEL

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TOW CONNECTING PANELS THROUGH APERTURES

PANEL TWO

PANEL ONE

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ADVANCED SYSTEMS W

eather data allows us to conduct an acute study of the site in relation to the specific climate it is situated within. Here in Mendoza, the Northern most facing facades receive the most direct sunlight as outlined in the winter and summer solstice sun studies. The max temperature falls within the winter months of the American climate and visa versa for the cooler months of July and August. Accompanied with a higher then average relative humidity level and below average wind speed, Mendoza falls within a category aligned with moderate temperate climate. Because of this information, a consideration of an all glass facade with active solar louvers would serve this opportune moment. The low amount of direct solar radiation (relative to that of LA or desert like climates) indirect sun light should be taken advantage of. An active system of louvers linked to interior and facade senors will aid in mitigating the direct solar gains in the hotter less cloudy days. Using the simulation plug-in for Ecotect - RADIANS - we are able to get a spatial understanding of how the daylighting in a typical unit changes throughout the day. Along with the â&#x20AC;&#x153;falseâ&#x20AC;? color study - which is used to obtain values for the daylighting - we are able to contribute those numbers to the optimization process of study in order to further enhance their effectiveness

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Considering the initial mesh when exported from Maya has 416 435 faces, a reduction process must be done in order for ecotect to analysis the data correctly.

The solution to achieve this reduction was done through rhino. This is the best process to reduce the faces of the mesh while maintaining an acute portrayal of the original geometry. From using “Reduce Mesh”, we were able to decrease the mesh count to 1416 faces. A significant reduction.

MIN TEMP

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SOLAR RADIATION

MAX TEMP

SUM SOLSTICE - 8am

TWIN SOLSTICE - 8am

AVG CLOUD COVER

AVG TEMP

SUM SOLSTICE - 12pm

TWIN SOLSTICE - 12pm

AVG WIND SPEED

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344 wh/m2 and Under

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344 - 864 wh/m2

864 wh/m2 and Greater

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LEVEL 9 LEVEL 8 LEVEL 7 LEVEL 6 LEVEL 5 LEVEL 4 LEVEL 3 LEVEL 2 LEVEL 1

8:00 am

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Typical Unit North West Facing Windows

A typical unit has been selected for closer analysis. The initial solar radiation study completed will determine the locations of the solar shading devices on the facade of the hotel building but the unit will serve has a more appropriate size for the daylighting analysis.

Description

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% 6.6 5.3 4.68 4.13 3.24 2.7 2.18 1.9 1.68 .84 0

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DESIGN DEVELOPMENT

arving in architecture is typically subjected to material that is quite homogeneous in relation to the scale in which it is buildable (carving out a marble column).

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RUDE FORM

olmen du Terrier de la Frébouchère

The Dolmen de la Frébouchère is approximately 2m high, 7m long and 3.5m wide. It is is composed of 14 stones.12 stones are vertical and 2 big horizontal plates form the top. The overall shape of the monument is rectangular. Its longer side is approximately twice the size of the shorter one. The co-axial entry is located at the shorter end of the stone formation. The main aggregation is formed by 9 vertical stones. Only some of them work structurally, reaching the capstones. One stone on the right side of the entry is partly destroyed, reaching only half way to the top of the structure. The remaining stones go all the way from the ground to the two stone plates at the top of the assembly. The entry consists of two stones facing the entrance with their longer sides. The space between them is slightly tighter than their width. The entry is also marked by two additional stones that have no structural relationship to the rest of the assembly. They are half the size of the other stones and mark the entrance. The back of the dolmen is formed by one big stone, spanning the width of the monument. That stone is supported by another stone that is placed outside of the dolmen envelope. The top of the collocation is formed by two large stone plates. They are by far the biggest in the monument. The capstone above the entry is supported by five stones, the plate in the back by four. Placed together, the capstones form a rather precise rectangle with a slightly diagonal cut between both. Since their profiles fit together pretty well, they probably once formed one continuous plate, which due to the passage of time broke into two pieces. Four axonometric drawing represent an aggregation of stones whose position, size and proportions are translated from photographs into a digital model. The interior has been modeled based on suppositions gathered from

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